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Makers : a history of American studio craft
Here is the first comprehensive survey of modern craft in the United States. Makers follows the development of studio craft--objects in fiber, clay, glass, wood, and metal--from its roots in nineteenth-century reform movements to the rich diversity of expression at the end of the twentieth century. More than four hundred illustrations complement this chronological exploration of the American craft tradition. Keeping as their main focus the objects and the makers, Janet Koplos and Bruce Metcalf offer a detailed analysis of seminal works and discussions of education, institutional support, and the philosophical underpinnings of craft. In a vivid and accessible narrative, they highlight the value of physical skill, examine craft as a force for moral reform, and consider the role of craft as an aesthetic alternative. Exploring craft's relationship to fine arts and design, Koplos and Metcalf foster a critical understanding of the field and help explain craft's place in contemporary culture. Makers will be an indispensable volume for craftspeople, curators, collectors, critics, historians, students, and anyone who is interested in American craft.
eBook
The Essential \New Art Examiner\
The New Art Examiner was the only successful art magazine ever to come out of Chicago. It had nearly a three-decade long run, and since its founding in 1974 by Jane Addams Allen and Derek Guthrie, no art periodical published in the Windy City has lasted longer or has achieved the critical mass of readers and admirers that it did. The Essential New Art Examiner gathers the most memorable and celebrated articles from this seminal publication. First a newspaper, then a magazine, the New Art Examiner succeeded unlike no other periodical of its time. Before the word \"blog\" was ever spoken, it was the source of news and information for Chicago-area artists. And as its reputation grew, the New Art Examiner gained a national audience and exercised influence far beyond the Midwest. As one critic put it, \"it fought beyond its weight class.\" The articles in The Essential New Art Examiner are organized chronologically. Each section of the book begins with a new essay by the original editor of the pieces therein that reconsiders the era and larger issues at play in the art world when they were first published. The result is a fascinating portrait of the individuals who ran the New Art Examiner and an inside look at the artistic trends and aesthetic agendas that guided it. Derek Guthrie and Jane Addams Allen, for instance, had their own renegade style. James Yood never shied away from a good fight. And Ann Wiens was heralded for embracing technologies and design. The story of the New Art Examiner is the story of a constantly evolving publication, shaped by talented editors and the times in which it was printed. Now, more than three decades after the journal's founding, The Essential New Art Examiner brings together the best examples of this groundbreaking publication: great editing, great writing, a feisty staff who changed and adapted as circumstances dictated—a publication that rolled with the times and the art of the times. With passion, insight, and editorial brilliance, the staff of the New Art Examiner turned a local magazine into a national institution.
eBook
Essential \New Art Examiner"e
The New Art Examiner was the only successful art magazine ever to come out of Chicago. It had nearly a three-decade long run, and since its founding in 1974 by Jane Addams Allen and Derek Guthrie, no art periodical published in the Windy City has lasted longer or has achieved the critical mass of readers and admirers that it did. The Essential New Art Examiner gathers the most memorable and celebrated articles from this seminal publication. First a newspaper, then a magazine, the New Art Examiner succeeded unlike no other periodical of its time. Before the word \"blog\" was ever spoken, it was the source of news and information for Chicago-area artists. And as its reputation grew, the New Art Examiner gained a national audience and exercised influence far beyond the Midwest. As one critic put it, \"it fought beyond its weight class.\" The articles in The Essential New Art Examiner are organized chronologically. Each section of the book begins with a new essay by the original editor of the pieces therein that reconsiders the era and larger issues at play in the art world when they were first published. The result is a fascinating portrait of the individuals who ran the New Art Examiner and an inside look at the artistic trends and aesthetic agendas that guided it. Derek Guthrie and Jane Addams Allen, for instance, had their own renegade style. James Yood never shied away from a good fight. And Ann Wiens was heralded for embracing technologies and design. The story of the New Art Examiner is the story of a constantly evolving publication, shaped by talented editors and the times in which it was printed. Now, more than three decades after the journal's founding, The Essential New Art Examiner brings together the best examples of this groundbreaking publication: great editing, great writing, a feisty staff who changed and adapted as circumstances dictated-a publication that rolled with the times and the art of the times. With passion, insight, and editorial brilliance, the staff of the New Art Examiner turned a local magazine into a national institution.
eBook
Derek Weisberg at Trotter&Sholer, NYC
Seeing the pieced-together and partial figures in Derek Weisberg's exhibition, ceramics cognoscenti who know their history will immediately recall the figurative works of Stephen DeStaebler (who Weisberg assisted for a few years) and Mary Frank. But while DeStaebler's sculptures recalled the imposing monuments of the Near East or Egypt, and Frank's females conveyed an erotic sensibility, Weisberg's are more plaintive. In the more recent art context, they might also evoke the brutalized assembled figures of Huma Bhabha or the more monstrous constructions of Matthew Monahan and Thomas Houseago. And maybe these are the more relevant comparisons, for they say something about the stresses of time, even prepandemic. And maybe more generally they say something about disorderly, chaotic lives, or the sense of being overwhelmed by things. That life clutter is flamboyantly expressed by the exuberant and cordial fruits and vegetables in glass and ceramic by Katie Stout, recently exhibited at Venus Over Manhattan gallery in the form of lamps, among other things, and given the exhibition title Verdant Malformations. She looks back to Arcimboldo.
Trade Publication Article
Ron Nagle: Getting to No
Nagle has now been taken on by Matthew Marks, the important New York gallery that represented Price (supplementing his longtime California gallery, LA Louver) and was able to get him the major-museum retrospective he had long deserved. So that may lie in Nagle's future as well. But in the meantime, Marks presented a sprawling 41-piece exhibition of Nagle's laborintensive objects dating from 2017 to 2019. Eighteen of them made a field of works, each in a clear Plexiglas box atop a tall pedestal that brings it near eye level, spaciously arrayed in the gallery's largest room. This was a demonstration of the strength that a small object can assert when it is not crunched into a large display case along a wall (which for too long was the typical \"craft\" treatment).
Trade Publication Article
Simone Leigh: Loophole of Retreat
Loophole of Retreat, an exhibition of the works of Simone Leigh at Guggenheim Museum in New York City NY is reviewed.
Trade Publication Article
Place It/Face It: Pottery by Eugene
An art exhibit of Place It/Face It: Pottery, by Eugene held at McMissick Museum, University of South Carolina on August 18 to Dec 15, 2018 is discussed. The ceramic works of Winton and Rosa Eugene feature sensitive portraits of African-Americans, scenes of Southern landscape and vernacular architecture, and messages of identity, ecological concerns and social justice issues. These subjects are presented via painted or carved imagery on everyday functional forms or large commemorative vases and bowls, as well as sculptural vessels. The earliest work in this 30-year retrospective, a small crock from 1987, is by no means amateur-clunky. It bears an etched portrait of Winton's grandmother on one side and a fine-line drawing of his Louisiana home-place on the other. Both are themes that he has continued to favour over the decades, perpetuating an emphasis on surface imagery although never to the degree of using blanks to support the pictorial content - so clearly form matters to him as well. The exhibition included masks as well as face jugs that are more portrait-like than the usual Southern face jugs.
Trade Publication Article